Laura Aguilar (selected artists for final presentation)
Silver Gelatin Print. Ed of 1.
19 × 12 7/8in. (48.3 × 32.7 cm)
Whitney Permanent Collection
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Reading
In her work entitled "Out of the House, the Halo, and the Whore's Mask: The Mirror of Malinchismo," author and UCLA faculty in the Department of Chicana/o Studies, Alicia Gaspar de Alba, Ph.D. highlights a few of the female gender-specific flaws generated by the exhibition "Chicano Art: Resistance and Affirmation," (or CARA for short). First and foremost making statistical analysis that demonstrates that the exhibition featured over "hundred more Chicano artists than Chicana artists." She continues by expanding on the fact that even the works created by collectives lack the representation of their female members. An example of this is the inclusion of the collective ASCO, who included Patssi Valdez as an active member. Her work was not featured in CARA.
Furthermore, Gaspar de Alba elaborates on the critiques that Chicana females made on the Women's liberation movement, which was for the better part class-and-color blind. By expanding on the intersectional concerns of Chicanas, Gaspar de Alba explains the positionality within the liberation movements of the time. The woman's liberation movement excluding issues of race, and the Chicano movement as being male centric; therefore leaving the Chicanas relegated to not particularly fitting into either movement. While explaining the Chicano Movement was centered on Machismo, she also details the sexism and heteronormative inclinations of the same. Exploring in-depth some of the pieces within the exhibition, allows Gaspar de Alba to further explain the role of the male gaze and feminine sexuality ideas within both the exhibition and the movement.
Q&A for Professor Gaspar de Alba.
Would a re-articulation of the same exclusive concern (Chicano Art exhibit) today, be of value to understand the progress the Chicanx community has made in the past 30 years?
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